3. Narrative Within the Frame: Mise-en-Scène and the Long Take (Touch of Evil, The Player, Aguirre: The Wrath of God, The Piano, Bright Star, In Darkness)

Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. Preface ix
4. 1. The Crafted Frame (Saul Bass, Talk to Her, Knife in the Water, Camouflage) 1
5. 2. The Opening Translated from Literature (The Conformist, The Tin Drum, The Unbearable Lightness of Being, All the President’s Men, Cabaret) 14
6. 3. Narrative Within the Frame: Mise-en-Scène and the Long Take (Touch of Evil, The Player, Aguirre: The Wrath of God, The Piano, Bright Star, In Darkness) 35
7. 4. Narrative Between the Frames: Montage (Z; Hiroshima, mon amour; Seven Beauties; Schindler’s List ; Three Colors: Red; The Shipping News; Shine) 55
8. 5. Singular Point of View (The Graduate, Taxi Driver, Apocalypse Now, Come and See, Lebanon, Good Kill ) 73
9. 6. The Collective Protagonist (La Ciudad, 3 Backyards, Little Miss Sunshine, Le Bal, Day for Night, A Separation, Where Do We Go Now?) 96
10. 7. Misdirection/Visual Narration (The Hourglass Sanatorium, Before the Rain, Ajami, Under Fire, The Conversation, Rising Sun, Psycho, The Truman Show) 122
11. 8. Voice-Over Narration/Flashback (Sunset Boulevard, American Beauty, Fight Club, Badlands) 150
12. Notes 165
13. Index 175